Hasta La Creative!

Canada apologizes for not living up to its land conservation promises
 

New campaign from Outside Thinkers points out that Canada is falling behind other UN countries on its commitment to protect 17% of its land by 2020

Canada is doing what it does best—apologizing—in an awareness campaign for the non-profit collaborative Outside Thinkers that acknowledges the country’s continued failure to honour its global commitment to critical environmental protection. 

The ads take the form of an apology from the fictitious Gord Burton, the self-appointed Deputy of the Canadian Bureau of Foreign Apologies. They acknowledge Canada’s failure to uphold its promise to permanently protect 17% of its land by 2020 as part of the Aichi Biodiversity Targets.

Approximately 10.6% of Canada’s land was already protected when it became one of 195 countries around the world to make the commitment to the Aichi Targets in 2010, but that number has risen to barely 11% in the nine years since then. Canada ranks a lowly 124^th among countries that signed the initial agreement, and is last among the G7 nations.

Outside Thinkers wanted to call out Canada’s foot-dragging on this key issue and urge Canadians to push for further action. The campaign is led by a 90-second video showing Burton seated at his desk, outlining the original promise and pointing to some of the more than 100 countries that have exceeded Canada’s achievements.

“I want to personally apologize to every country in the world because we are letting them down,” he says, before urging Canadians to take action quickly because he’s already booked what will likely be an expensive Uber trip to Equatorial Guinea.

The campaign also features a series of videos apologizing to countries that have done a better job than Canada of preserving their biodiversity, such as Andorra, Brazil, Chad and Hungary. In addition, a series of influencer videos direct apologies to notable environmental advocates, such as noted Swedish climate change activist Greta Thunberg.

The second phase arrives just days after the annual G7 Summit in France, which included climate change as one of its key areas of focus. It also follows the Canadian government’s pledge of $175 million towards 67 conservation initiatives in every province and territory, as part of Canada’s Nature Legacy initiative.

Outside Thinkers is encouraging people to spread the messages via social media and visit the website for the Canadian Bureau of Foreign Apologies (cbofa.ca) to send a letter to their local provincial politicians.

Also, here is the campaign video, launched earlier this year.

Here’s another video, from Autumn Peltier, Chief Water Commissioner of the Anishinabek Nation

Naomi Klein, Canadian author, social activist, and filmmaker weighs in too.

Greta Thunberg, Swedish student who is credited with raising global awareness of the risks posed by climate change.

Turns out that there are actual laws, still, even when you are drinking White Claw. Despite their attitude-filled tagline, as comedy writer and Director Deanna Director discovered the hard way (pun intented) and tweeted about today.

Turns out, there are laws when you’re drinking Claws. pic.twitter.com/mqMZw5Eo5Z

— Deanna Director (@DeannaDirector) September 15, 2019

But… But! Officer, that’s not what the product’s tagline implies, sir! Now all that remains is testing this in court. Deanna promises to bring this shirt. We should all show up in the same shirts, with a can of White Claw in either hand. Judge might have to join us.  (As an aside, is it any good? I need to try this drink now, can White Claw hook us up?)

Hoping this shirt holds up in court pic.twitter.com/zwmOvOHxM3

— Deanna Director (@DeannaDirector) September 15, 2019

The grey brutalist apartment ghettos we in Sweden call the “million programme”, familiar to anyone who has lived in Northern or Eastern Europe, or in the Deutsche Demokratische Republik itself, are not pretty places. They tend to feel isolating, overbearing, inhuman and soulless, and these areas tend to eventually house the rough boys, the gangs. Shot in Marzahn-Berlin, this video is based on the photo series “Loose Ends” by award-winning photographer Si Wachsmann. “It follows a group of boys on an adventure in the rough neighbourhood, as they escape their harsh reality to a place where boys can be boys.”  The rough boys are Sebastian, Alex, and Kuba, who smoke and fight and blow off steam. They look like Polish supermodels to me, so when the eventual fight begins, I start worrying about their pretty faces. 

Director Adi Halfin wanted to continue the narrative that Wachsmann, her frequent collaborator and real-life partner, had established with “Loose Ends” and Lief joined forces with record label LuckyMe to add S-Type’s first single from his upcoming album ‘S-Type-Beat’ as the score for this story. 

Despite the ghetto surroundings, it looks a little surreal and dreamy, with a sweeping aesthetic that feels almost fragile, and somewhat homoerotic. The close-up portraits deliver glimpses of their emotional world. They are frustrated, they are angry, they feel hopelessness, they feel dejected. Sentiments that generations who grew up in concrete jungles like these have felt.

Halfin felt the desire to film ‘boys being boys’ due to her tendency to express extreme emotions in her work;
 

“I like things that come from the gut and not from the head. And there’s something about this period of adolescence that I find fascinating, especially when it comes to boys. The borders of ‘right’ and ‘wrong’ are not always clear and you constantly want to test your limits and the limits of your environment. Every emotion is magnified, and a small game can easily turn into something extremely violent. There’s something fearless and careless about this age and it connects to primeval feelings – jealousy, anger, love, sexual attraction – it’s all out there, with no filters.”

CREDITS ‘Waiting’

A project by Si Wachsmann & Adi Halfn

Cast: Alexander Lukowski, Sebastian Dabkowski, Jakub Werra

Production Company: Lief
Music: ‘Waiting’ S-Type via LuckyMe

Record Label Founder: Dominic Flannigan

Production Company (Berlin): True Motion Pictures

Director: Adi Halfin 

DoP: Si Wachsmann 

Producer: Margo Mars

Producer: Alexander Papastawrou

Production Manager: Miriam Henri 

Editor: Shahar Amarilio

Colour Grading: Maria Carretero, Framestore

Colour Grading Producer: Rachel Cohen, Framestore

Hair & Makeup: Claudia Fischer 

Art Director: Shira Wachsmann 

AC: Lisa Dutschmann 

Lighting Assistant: Julian Hemelberg 

Production Assistants: Svenja Nagel, Alex Moore, Jakob Wiechsmann

Location: FELiX Wohngenossenschaft eG (Frau Lüttke)

House Manager: Uwe Illert 
 

Special thanks: Max Zimmermann, Peggy Geibig, Maya Lu, Yaro Blo, Kalle Kallovsky, JMP Agency

Camera and lenses kindly supplied by Canon.

About LuckyMe
LuckyMe is a record label and design studio specialising in the release of new electronic, hip-hop, pop, rock and underground dance music. Referred to as ‘one of the most innovative and prolific independent record labels of the decade’ and acclaimed for ‘distinctive visual arts projects and collaborations’.

FCB New York, in partnership with Unibet – a premium online gambling operator – today announced that it has launched a new campaign entitled “Crazy About the Odds.” The work is the first by the agency since Unibet selected FCB New York as its U.S. Agency of Record in December 2018.

The new campaign, which launches Unibet Online Sportsbook in the United States, reflects the universal truth that when you have money on the line, the experience is intensified to a rather absurd degree.

“We’re winking at bettors, acknowledging that when you have skin in the game, you may be reacting in ways that are perceived as odd by less-invested fans,” said Gary Resch, FCB New York EVP, Executive Creative Director. “For instance, why are you on the edge of your seat when it’s 49-3 while everyone else is filing out? Well, you took the over at 52, so the result is still in the balance.”

In Europe, Unibet has earned the trust of serious bettors, demonstrating for over 20 years an understanding of what players need in order to make informed bets and amplify their sports-watching experience. They seek to begin earning that trust in the U.S. by celebrating their kindred spirit with these bettors.

“We wanted the campaign to be an inside joke between Unibet and the savvy sports bettor. Not everyone will understand the dynamic portrayed in the ads, but the ones who do will know in an instant that we’re the brand that gets them,” said Arnas Janickas, Head of U.S. Marketing at Unibet. “They have a lot of choices out there, so we want to prove that Unibet is the one they want to be watching the games at the pub with.”

In this vein, the new campaign focuses on the raw emotion underlying sports betting moments. With different vignettes for different sports, the campaign will be relevant in every season.

For instance, two hockey fanatics have oddly been converted to tennis fanatics because of a simple bet. Two other bettors make a scene just seconds into a basketball game because they had money on who wins the tip-off. A gentleman pulls his own hammy celebrating a winning bet of a stolen base. While onlookers may think it pretty strange, FCB and Unibet understand that having a bet on a game amplifies the experience to the extent that exhibiting odd behavior is absolutely normal. Thus, the campaign rallying cry, “It’s not odd, it’s the odds.”

Unibet, which offers online sports betting, casino games, poker and bingo in 20 different languages for over 25 million customers throughout the UK, Europe and Australia, announced that it would expand into the U.S. in 2019, and tapped FCB as its key launch partner for the Unibet brand. Unibet is live in New Jersey, and looking to roll out in Pennsylvania later this year.

As legislation enabling online sports betting expands into states across the U.S., Unibet aims to deepen its authentic connection with its target audience while broadening the appeal to more casual sports fans who want some more “hell-yeah” moments.

“Crazy About the Odds” consists of online videos, digital radio spots, geotargeted paid social assets, as well as out-of-home and OTT video ads.

FCB New York:

Ari Halper – Chief Creative Officer

Gary Resch – Executive Creative Director

Hernan Ibanez – Associate Creative Director

Justin Batten – Art Director

Nick Romano – Copywriter

Jon Gruber – Copywriter

Todd Sussman – Chief Strategy Officer

Adam Isidore – Director of Integrated Production

Henna Kathiya – Senior Integrated Producer

Jesse Morris – Project Manager

Janice Katz – Business Affairs Manager

Jared Shell – Account Director

Miles Brickley – Account Executive

Unibet US:

Arnas Janickas – Head of Marketing, US

Manuel Stan – SVP Kindred, US

Mateusz Samolyk – Brand Manager, Global

Director:

Adam Goldstein

Circle:

Chris Bowles – Executive Producer

Chuck Ryant – Executive Producer

Steve Schofield – Executive Producer

Kevin Johnston – Executive Producer

Vanessa Lenarduzzi – Producer

Production Manager – Chelsea Ruckle

Lost Planet:

Krystn Wagenberg – Executive Producer

Casey Cayko – Senior Producer

Charlie Johnston – Editor

Rachel Butler & Kenji Yamauchi – Assistant Editors

Black Hole – Finishing/GFX:

Felix Cabrera – Finishing Producer

Reginald Butler & Andre Sam – Animators

Tim Farrell – Flame Artist

Isabel Gomez – Flame Assistant

Honey Mix:

Mary Tomasiewicz – Owner/Executive Producer

Eric Thompson – Sound Mixer

Photography:

John Keatley – Photographer

Sean Frith – Producer

The Mill:

Fergus McCall – Colorist

Rochelle Brown – Producer

Café Bustelo, the legacy espresso-style coffee brand, is making its national debut in a vibrant new ad campaign, blending modern and traditional Latin imagery and music in a celebration of the brand’s heritage. Since 1928, Café Bustelo’s bold flavor and iconic, colorful packaging have been both known, and loved, in Latin communities across the country. Now, for the first-time ever, the brand is available nationwide. The new ad campaign is titled, Café Bustelo Estuvo Aquí (Café Bustelo Was Here), and debuts September 2^nd on Univision, VH1, Travel Channel, Ion, Nick at Nite, and others, with a spirited :30 broadcast commercial as the creative centerpiece. Additional campaign elements include online, digital banners, social, OOH, and radio.
 

The campaign is the first creative work for the Café Bustelo coffee brand from PSOne, the Publicis Groupe’s Power of One team, a bespoke solution for The J.M. Smucker Company.

The campaign boasts bold, minimalist illustration-style visuals, with a retro poster feel, in a colorful and creative nod to the authenticity of the brand. Both modern and traditional Latin imagery are used to represent Café Bustelo’s multi -generational appeal. The music featured in the campaign adds to the mix, marrying old and new, by combining traditional Latin rhythms, with modern electronic beats, and was created by HiFi Project. One taste of this bold Latin blend and you’ll understand why it’s always more exciting in the knowledge that “Café Bustelo Estuvo Aquí.”

“It’s so exhilarating to see this brilliant work capture the authentic Latin spirit, passion and heritage of Café Bustelo coffee in an artistic way,” stated Liz Mayer, Consumer Engagement & Omnichannel Customer Marketing Lead, The J.M. Smucker Company. “We cannot wait for this work- the first campaign of this nature for the business – to drive awareness of this growing brand that already has such a loyal following. In a crowded category like coffee, this brand definitely holds its own, and this creative created by PSOne further exemplifies this.”

“Cafe Bustelo is a bold espresso-style coffee brand with deep roots in Latin communities,” stated Tina Meyer-Hawkes, Vice President of Marketing on Coffee, The J.M. Smucker Company. “This new creative beautifully blends Latin-inspired music and art into an energetic story that is unique to Café Bustelo. I can’t think of a better way to invite new consumers to join our brand tribe.”

“We want to invite you to get a “taste” of our coffee and culture through the vibrancy and energy of our magnetic “Café Bustelo Estuvo Aquí” national campaign; a first for our brand,” said Eduardo S. Merino, Senior Brand Manager, The J.M. Smucker Company. “We feel very proud to continue with our Latino traditions of inviting and bringing people together over a cup of cafecito, and we want to continue doing so for generations. ¡Están invitados!”

“Coffee is such a cluttered space with most brands relying on the same roasting, brewing and sipping imagery we’ve seen for years,” stated Andy Bird, Chief Creative Officer, PSOne. “The Café Bustelo Estuvo Aquí campaign disregards the category tropes and artfully creates a space unique to this very special brand. It’s loud, proud, and incredibly ownable.”

“We felt a real sense of responsibility in creating the first-ever national campaign for Café Bustelo, said Erica Roberts, Executive Creative Director, PSOne. “The brand has been a staple in the Latin community for almost a century; it’s got serious street cred. So whatever we created needed to preserve this and be unapologetically Latin. In fact, we were originally going to release the work in English & Spanish, but agreed with the team at The J.M. Smucker Company that we wanted to stay true to our roots and only release in Spanish.”

Client:                                                  The J.M. Smucker Company

Brand:                                                  Café Bustelo

Campaign Title:                                   Café Bustelo Estuvo Aquí
Agency:                                              Publicis Groupe, PSOne

Agency Location:                               New York

Chief Creative Officer:                        Andy Bird
Executive Creative Director:               Erica Roberts

Creative Director/Copy:                     Larissa Kirschner

Creative Director/Art:                         Matthew Leopizzi

Creative Director/Art:                         Jana Pejkovska

Director of Integrated Production:     Jenny Read

Executive Producer:                            Lauren Schneidmuller

Producer                                             Dylan Mizner

Music Producer                                   Rachel Rauch                        

Group Account Director:                    Yuri Lee

VP, Account Director:                         Tabatha Roman

Account Executive:                            Nia Bolling

Production Company:                        Blacklist
Managing Director:                             Adina Sales
Executive Producer:                            Danielle Amaral
Producer:                                            Jodi Kraushar

Animation House:                                Wizz
Director:                                              Gary Levesque
Producer:                                            Matthieu Poirier 

Animation:

Bong Nguyen 

Pierre Rutz

Rachid Guendouze 

James Molle

Laure Escadafals 

Tom Rameaux 

Compositing:                                       Benoit Galland

Background:                                       Gary Levesque

Intern:                                                  Quentin Rigaux

Music House:                                       Hifi

Executive Producer:                            Chris Heidman 

Audio Engineer:                                   Mark Turrigiano

Production House:                               Harbor

Executive Producer:                            Jesse Schwartz

Papa John’s International, Inc. announces the launch of its new “Better Day” campaign featuring Board of Directors member and franchisee Shaquille O’Neal. The campaign includes three television ads featuring O’Neal making pizzas with Papa John’s team members and engaging Los Angeles residents across the city during deliveries at different locations.

“Shaquille has a dynamic presence and sharp business sense. We wanted him to take the wheel in these ads and show it truly is a better day at Papa John’s,” said Karlin Linhardt, Papa John’s global chief marketing officer. “You’ll see in the commercials Shaquille being Shaquille – visiting team members at Papa John’s restaurants, showing off his charisma, embodying the changes so pervasive across Papa John’s.”

The “Better Day” campaign was directed by filmmaker Amir Farhang with Hungry Man Productions.  Farhang is a former agency creative turned award-winning director who worked with O’Neal previously, as well as working with brands such as Adidas, Nike and Dove.

This is the first campaign with Papa John’s from its new partner Camp + King. 

“These spots are meant to show how Shaquille is not playing a role of “spokesperson,” but instead is playing a real role of being more deeply invested in the company as both a store owner and member of the board,” said Roger Camp, chief creative officer and co-founder of Camp + King.

These commercials are part of a larger campaign, which will include additional candid moments with O’Neal and community engagement in select cities in the coming months, among other elements.

Advertising Agency: Camp + King, San Francisco, CA (USA)

Chief Executive Officer & Partner: Jamie King

Chief Creative Officer & Partner: Roger Camp

Creative Director, Junior Partner:  Rikesh Lal

Creative Director, Junior Partner: Jesse Dillow

Senior Art Director: Melissa Macarian

Senior Copywriter: Rick Morrison

Copywriter: Evan Burton

Director of Production, Junior Partner:  Stacy McClain

Executive Producer: Garrett DeLorm

Managing Director – Chicago, Junior Partner: Kristin Barbour

Brand Director: Melissa Stavish

Brand Supervisor: Helen Oddone

Assistant Brand Manager: Rachel Feigelman

Director of Strategy, Junior Partner: David Morrissey

Senior Strategist: Paige Robertson

Designer:  Joey Faccio

Director of Print Production: Amy Guzman

Production Company: Hungry Man

Director: Amir Farhang

Managing Partner/Executive Producer: Kevin Byrne

Managing Partner/Executive Producer: Mino Jarjoura

Executive Producer/Director of Sales: Kevin Byrne

Executive Producer: Caleb Dewart

Head of Production: Marian Harkness

Producer: Tine Densmore Bell

Production Supervisor: Alexa Brugger

Post-Production:  Cut+Run / Jogger SF

Editor: Ben McCambridge

Editor: Max Holste

Executive Producer: Deanne Mehling

Producer: Cassandra Guardado

Flame Artist: Brendan Crockett 

Online Producer: Caylee Banz

Mix:  One Union Recording

Senior Engineer: Joaby Deal

Color Grade:  Company 3

Senior Colorist: Sean Coleman

Music Supervision: Beta Petrol

Executive Producer: Dayna Turcotte

Producer: CMC Forecast, Dave Suchanek

ArtClass is pleased to announce an exciting addition to their team of next generation storytellers. Joining the roster of the LA and NY-based production studio is award-winning director Cody Stokes. Hailing from the Midwest, Stokes makes poignant commercials, narrative films, and documentaries that touch the heart.

As Executive Producer Geno Imbriale says, “Authenticity is the pillar of Cody’s work. He knows how to trigger emotion and connect with the viewer, a skill that runs throughout his expansive portfolio. At ArtClass, we’re looking forward to taking Cody’s artistry and production pedigree into new and unexpected avenues.”

The prolific Stokes has over a hundred commercial projects under his belt. He’s crafted ads for brands including Toyota, Nike SB, American Express, Microsoft, Yahoo, BMW, ESPN, and Dreambone. Inspired by his mother’s love of craft, and his father’s love of story (and classic 60’s films like Butch Cassidy and the Sundance Kid), Stokes was primed to impart a depth, richness, and relatability to all of his work.

In his short films, it takes Stokes only a couple of minutes to translate complex or deep emotions, be it mourning a loss, bearing loneliness, rooting for escape, or delighting in whimsy. His sense for pacing and performance results in narratives that are genuine, captivating, sometimes uplifting, and always emotive. The recipient of the Princess Grace Award for filmmaking, Stokes’ use of light and sound brilliantly punctuates scenes and transitions, especially in shorts like Paper Hallways, A Year Long Morning, and The Loneliest Place On Earth.

Stokes’ first full-length narrative, a crime drama called The Ghost Who Walks, is rounding the film festival circuit in summer 2019. It has already won six awards at the St. Louis Filmmakers Showcase, including Best Narrative Feature, and won the Jury Award at the 2018 US IN PROGRESS section of the Champs-Elysees Film Festival.

For Stokes, having a supportive team can make all the difference, which is why he found himself linked up with ArtClass, having previously worked with EP Geno Imbriale. “ArtClass is the kind of company that helps directors – and creators of all kinds – be the best versions of themselves. They provide a platform to explore new ideas and really hone one’s craft,” says Stokes. “I feel very privileged to be part of such a diverse group of creatives.”

A grumpy old man hates de Rio Carioca Beer ads and find them a bunch of losers.

“These Rio Carioca Beer ads, love to mock everybody. That’s why they don’t sell anything, or have money to appear on TV. LOSERS!”

“Rio Carioca Beer ads never shoed a woman in a bikini!”

The grumpy old man insists: “I’m not being funny about these Rio Carioca Beer ads. My son likes them. He’s a loser too.”

Campaign: #losers

Brand: Rio Carioca Beer

Agency: 11:21

Criative Director: Gustavo Bastos

Copywriter: Gustavo Bastos

Account Manager: Diego Crisostomo

Media Manager: Rodrigo Sani

Production Company: Movie Machine

Director: Bruno Miguel

Approved by: Luiz Eduardo Vieira

Would you treat a cake better than you would your friends? Turns out, most people do. Research shows that when Belgian motorists have food on the passenger seat 87% of them drive with extra care. Because they really don’t want to ruin that cake.

This insight led mortierbrigade to come up with the idea of the Safety Cake. A beautiful and fragile piece of pastry that has an immediate impact on the motorists’ driving behaviour. Joost Berends, Creative Director at mortierbrigade, explains:

“The idea started from the principle that we drive more careful when we transport food on the passenger seat, like for instance a pizza, some Chinese takeaway or a cake. An inquiry further confirmed this observation. With the Safety Cake we seek to bring across a very clear message about our driving behavior not being very logical, in a way that people can recognize. Because why wouldn’t you be just as careful with your passengers as with the cake standing next to you?”

With the hashtag #TreatYourFriendsLikeACake mortierbrigade invites motorists to treat their friends like a cake. I mean, with care.

Laura Gonzalez Schena, coordinator at RYD:

“With the Safety Cake we want to address road safety in an original and positive way. We don’t want to moralize or point fingers, yet seek to open the discussion with a positive message.”

The Safety Cake is part of a global awareness campaign and also has a wide social component, in order to reach as many young people as possible. With the hashtag #TreatYourFriendsLikeACake RYD and Renault invite young motorists to treat their friends as they would a cake. Motorists can find the campaign movie on www.safetycake.be, along with the recipe to drive safely.

Ad agency: mortierbrigade – Brussels

Quinn Wilson, a provocative filmmaker/creative director adept at shaping visual identities across the realms of music, performance and film – notably with singer/rap sensation Lizzo – has signed with Good Company. Based in New York and LA, Good Company is a full-service creative studio with a roster of diverse talents. Their multidisciplinary production and post expertise has them at the forefront of commercials, music videos, world tours, and experiential activations.
 

Quinn’s keen aesthetic shines through in the signature imagery Quinn and Lizzo have created together, starting with Quinn designing Lizzo’s debut album cover, to Quinn serving as creative director for her most recent tour, to directing the bulk of Lizzo’s music videos – including the sassy “Juice” (with over 34 million views and counting). Most recently, Quinn helped take the singer’s message of body positivity to the 2019 MTV VMA stage, giant inflatable twerking posterior included. 

Says [Managing Director/Co-Founder] Ryan Heiferman: “What Quinn has done with Lizzo is nothing short of amazing — the performances, the videos, and the overall aesthetic all sculpted under her artful eye. And Quinn has seamlessly transitioned into directing over the past couple years which makes her truly a great fit on our roster, as both a director and creative director.”

Quinn attended the Minneapolis College of Art & Design, where she thrived in a collaborative studio environment and developed a dramatic flair for makeup and design. A big break came when Quinn linked up with Lizzo as a makeup artist for the vocalist and her performers. Immersed in the hustle surrounding the shows, she began tossing innovative ideas out to the team to enhance the Lizzo experience for fans. Without realizing it, Quinn was acting as a creative director before she was hired as one.

This collaborative shorthand runs through the signature imagery Quinn and Lizzo have created, starting with Quinn designing Lizzo’s debut album cover, to creative directing Lizzo’s most recent tour. Quinn has a hand in every detail of the tour spectacle, proving her ability to conceptualize with a team of varied voices and skillsets and carry that vision through across mediums. Recently, Quinn helped take Lizzo’s message of body positivity to the 2019 MTV VMA stage, where the star performed her medley of hits in front of a giant inflatable twerking posterior.

Quinn took the leap to move behind the camera and recalls her a-ha moment. “My comfort zone was articulating my vision and hiring filmmakers whose technical ability I trusted. Learning all aspects of the craft has solidified a passion I’ve had within me since childhood. Directing has opened up another visual space for me to play in, and allowed me to take full ownership of my art.”

Quinn’s ability to translate the essence of the artist onscreen shines in Lizzo’s

videos for “Boys,” “Fitness,” “Truth Hurts,” and the much acclaimed “Juice” – a character-driven clip which hit the mark (with over 32 million views and counting) with its 80s-tinged references and sassy humor.

The success of these videos enabled Quinn to push forward into different areas of image-making. For Vogue Magazine, she captured a celebration of the LGBTQ+ identity spectrum with a series of striking portraits from the 2018 LA Pride Parade. In 2019, she made her foray into the commercial arena with promos for the Tyler Perry series The Haves and Have Nots on Oprah’s OWN Network.

Quinn was introduced to Good Company through her manager, Alli Maxwell, who has roots at Good Company, having produced and EP’d various projects for them over the years. As Quinn looks towards the future with the team, she explains, “Good Company are good people with good taste. Their support and expertise is exactly what I’ve been seeking as I push forward into the world of commercial and branded content and continue on in the music video space.”

“I’ve been lucky to jump around in professional roles within the creative world, but film feels the most at home for me,” Quinn added. “My heart is flying out of my body most when I’m making films. When I’m on set doing anything with moving images, I feel like I’m soaring through the air.”